1. Jane Eyre by Charlotte Brontë (1847)
No character is closer to my heart than Jane, this stubborn, loyal, tiny girl who stares down English storms and hears urgent voices in the wind. In one of my favourite passages, Jane declares: “There is no happiness like that of being loved by your fellow creatures, and feeling that your presence is an addition to their comfort.” In order to reach that sense of fellowship, Jane must first learn what she is when she’s alone.

When I started studying the most notable female suspense writers of the 20th century more seriously, I discovered out an important pattern. Every generation loves a story of a woman in distress, dating all the way back to the Brontë sisters. (Sarah Weinman)

So I’ll start with a visit to Poet’s Corner in London’s Westminster Abbey. Beneath the stones of this abbey lie some of the greatest writers who ever lived — Chaucer, Tennyson, Browning, Dickens, and others . Here, too, are plaques and monuments honoring more great authors, ranging from the Brontë sisters to C.S. Lewis, from William Blake and Jane Austen to W.H. Auden and Ted Hughes. [...]
Then it’s north by train to Yorkshire and the moors depicted in Emily Brontë’s Wuthering Heights, a book that, though I teach it nearly every year, continues to amaze me. How such a masterpiece sprung from one so young affords yet another reminder that genius and talent are remarkable, rare, and inexplicable. (Jeff Minick)

Anne Bronté [sic]
Of the three Bronté sisters, Anne generally is left out or thought of as the “lesser” sister.
That is not true, in my experience.
Anne only lived to publish two novels, “Agnes Grey” and “The Tenant of Wildfell Hall.”
Both of those are far better than “Wuthering Heights,” and on the level of “Jane Eyre.”
The face [sic; meaning fact] that Charlotte Bronté herself didn’t care for “The Tenant of Wildfell Hall” and refused to allow a second printing after Anne’s death quite possibly led to Anne’s work being neglected for so long. (Kayleigh Lawson)

This columnist from the Times Leader would have you take a look at the young adult section too.

Sometimes I think the most clever books can be found in the Young Adult section of bookstores. There’s a freedom in writing for children: an ability to craft a great story and not worry about churning out pretentious literature. For me, the mark of a good children’s book is that it can be enjoyed by kids but also appreciated by adults.
Maryrose Wood’s books, “The Incorrigible Children of Ashton Place,” is one such series. It feels like reading a young version of Jane Eyre, with the humor of Jane Austen and the clever wordplay of Lemony Snicket, all in a book written for 8-12-year-olds.
The series follows 16-year-old governess, Penelope Lumley, a sensible and intelligent but poor young woman living in Victorian England. She is hired by the wealthy Ashton family to care for their wards, the Incorrigible children. (Dorothy Sasso)

The Surge describes the film adaptation of Far from the Madding Crowd as